1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond-learning.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 Tutorial guidelines: (different from policy.txt!)
12 - unless you have a really good reason, use either
13 @lilypond[verbatim,quote,ragged-right]
15 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
17 Don't use any other relative=X commands (make it a non-fragment
18 example), and don't use fragment without relative=2.
20 - use "aes" and "ees" instead of "as" and "aes". I know it's not
21 correct Dutch naming, but let's not confuse people with this
22 until we get to the Basic notation chapter.
24 - Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
25 portions of the tutorial.
33 This tutorial starts with an introduction to the LilyPond music
34 language and how to produce printed music. After this first
35 contact we will explain how to create common musical notation.
39 * Single staff notation::
40 * Multiple notes at once::
49 This section gives a basic introduction to working with LilyPond.
54 * Working on text files::
55 * How to read the tutorial::
59 @node Compiling a file
60 @subsection Compiling a file
62 The first example demonstrates how to start working with LilyPond.
63 To create sheet music, we write a text file that specifies the
64 notation. For example, if we write
73 the result looks like this:
75 @c in this case we don't want verbatim
76 @lilypond[quote,ragged-right]
82 @warning{Every piece of LilyPond input needs to have
83 @strong{@{ curly braces @}} placed around the input. The braces
84 should also be surrounded by a space unless they are at the
85 beginning or end of a line to avoid ambiguities. The braces may
86 be omitted in some examples in this manual, but don't forget them
87 in your own music! For more information about the display of
88 examples in the manual, see @ref{How to read the tutorial}.}
90 @cindex Case sensitive
91 In addition, LilyPond input is @strong{case sensitive}. @code{
92 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
97 @subheading Entering music and viewing output
100 @cindex Viewing music
102 In this section we will explain what commands to run and how to
103 view or print the output.
105 Note that there are several other text editors available with
106 better support for LilyPond. For more information, see
107 @rprogram{Text editor support}.
109 @warning{the first time you ever run LilyPond, it may take a
110 minute or two because all of the system fonts have to be analyzed
111 first. After this, LilyPond will be much faster!}
113 @subsubheading MacOS X
115 If you double click @code{LilyPond.app}, it will open with an
116 example file. Save it, for example, to @file{test.ly} on your
117 Desktop, and then process it with the menu command @samp{Compile >
118 Typeset File}. The resulting PDF file will be displayed on your
121 For future use of LilyPond, you should begin by selecting @q{New}
122 or @q{Open}. You must save your file before typesetting it. If
123 any errors occur in processing, please see the log window.
126 @subsubheading Windows
128 On Windows, if you double-click in the LilyPond icon on the
129 Desktop, it will open a simple text editor with an example file.
130 Save it, for example, to @file{test.ly} on your Desktop and then
131 double-click on the file to process it (the file icon looks like a
132 note). After some seconds, you will get a file @file{test.pdf} on
133 your desktop. Double-click on this PDF file to view the typeset
134 score. An alternative method to process the @file{test.ly} file
135 is to drag and drop it onto the LilyPond icon using your mouse
138 To edit an existing @file{.ly} file, right-click on it and
139 select @qq{Edit source}. To get an empty file to start from, run
140 the editor as described above and use @qq{New} in
143 Double-clicking the file does not only result in a PDF file, but
144 also produces a @file{.log} file that contains some information on
145 what LilyPond has done to the file. If any errors occur, please
150 Create a file (such as @file{test.ly}) and enter:
158 To process @file{test.ly}, proceed as follows
165 You will see something resembling
172 Interpreting music... [1]
173 Preprocessing graphical objects...
174 Calculating line breaks... [2]
175 Layout output to `test.ps'...
176 Converting to `test.pdf'...
180 @node Simple notation
181 @subsection Simple notation
183 LilyPond will add some notation elements automatically. In the
184 next example, we have only specified four pitches, but LilyPond
185 has added a clef, time signature, and rhythms.
187 @lilypond[verbatim,quote,ragged-right]
194 This behavior may be altered, but in most cases these automatic
200 Music glossary: @rglos{interval}, @rglos{fourth}, @rglos{scale},
201 @rglos{middle C}, @rglos{octave}.
203 The easiest way to enter notes is by using @code{\relative} mode.
204 In this mode, the @notation{interval} between the previous note and
205 the current note is assumed to be within a @notation{fourth}. We
206 begin by entering the most elementary piece of music, a
209 @lilypond[verbatim,quote,ragged-right]
216 The initial note is @notation{middle C}. Each successive note is
217 within a fourth of the previous note -- in other words, the first
218 @code{c} is the closest C to middle C. This is followed by the
219 closest D to the previous note. We can create melodies which
220 have larger intervals:
222 @lilypond[verbatim,quote,ragged-right]
230 As you may notice, this example does not start on middle C. The first
231 note -- the @code{d} -- is the closest D to middle C.
233 To add intervals that are larger than a fourth, we can raise
234 the @notation{octave} by adding a single quote @code{'} (or apostrophe)
235 to the note name. We can lower the octave by adding a comma @code{,} to
238 @lilypond[verbatim,quote,ragged-right]
246 To change a note by two (or more!) octaves, we use multiple
247 @code{''} or @code{,,} -- but be careful that you use two single
248 quotes @code{''} and not one double quote @code{"}@tie{}! The
249 initial value in @code{\relative c'} may also be modified like
253 @subheading Durations (rhythms)
255 Music glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
256 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
258 The @notation{duration} of a note is specified by a number after
259 the note name. @samp{1} for a @notation{whole note}, @samp{2} for
260 a @notation{half note}, @samp{4} for a @notation{quarter note} and
261 so on. @notation{Beam}@tie{}s are added automatically.
263 @lilypond[verbatim,quote,ragged-right]
267 a16 a a a a32 a a a a64 a a a a a a a a2
272 If you do not specify a duration, the previous duration is used
273 for the next note. The duration of the first note defaults to a
276 To create @notation{dotted notes}, add a dot @samp{.} to the duration
279 @lilypond[verbatim,quote,ragged-right]
289 Music glossary: @rglos{rest}.
291 A @notation{rest} is entered just like a note with the name @samp{r}:
293 @lilypond[verbatim,quote,ragged-right]
301 @subheading Time signature
303 Music glossary: @rglos{time signature}.
305 The @notation{time signature} can be set with the @code{\time}
308 @lilypond[verbatim,quote,ragged-right]
322 Music glossary: @rglos{clef}.
324 The @notation{clef} can be set using the @code{\clef} command:
326 @lilypond[verbatim,quote,ragged-right]
340 @subheading All together
342 Here is a small example showing all these elements together:
344 @lilypond[verbatim,quote,ragged-right]
356 User manual: @ruser{Writing pitches}, @ruser{Writing rhythms},
357 @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
360 @c HERE's where I started
362 @node Working on text files
363 @subsection Working on text files
365 LilyPond input files are similar to source files in many common
366 programming languages. They are case sensitive, and white-space
367 is generally equivalent. Expressions are formed with curly braces
368 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
371 If the previous sentence sounds like nonsense, don't worry! We'll
372 explain what all these terms mean:
376 @cindex Case sensitive
377 @item @strong{Case sensitive}:
378 it matters whether you enter a letter in lower case (e.g. @code{a,
379 b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
380 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
381 will produce an error message.
383 @item @strong{Whitespace insensitive}:
384 it does not matter how many spaces (or new lines) you add.
385 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
386 @tie{} @tie{} d e @}} and
394 Of course, the previous example is hard to read. A good rule of
395 thumb is to indent code blocks with either a tab or two spaces:
403 @item @strong{Expressions:}
404 Every piece of LilyPond input needs to have @strong{@{ curly
405 braces @}} placed around the input. These braces tell LilyPond
406 that the input is a single music expression, just like parentheses
407 @samp{()} in mathematics. The braces should be surrounded by a
408 space unless they are at the beginning or end of a line to avoid
411 A function (such as @code{\relative @{ @}}) also counts as a
412 single music expression.
416 @cindex block comment
417 @item @strong{Comments}:
418 A comment is a remark for the human reader of the music input; it
419 is ignored while parsing, so it has no effect on the printed
420 output. There are two types of comments. The percent symbol
421 @samp{%} introduces a line comment; anything after @samp{%} on
422 that line is ignored. A block comment marks a whole section of
423 music input as a comment. Anything that is enclosed in @code{%@{}
424 and @code{%@}} is ignored. (Comments do not nest.) The following
425 fragment shows possible uses for comments
428 % notes for twinkle twinkle follow
432 This line, and the notes below
433 are ignored, since they are in a
442 There are more tips for constructing input files in
443 @ruser{Suggestions for writing LilyPond files}.
446 @node How to read the tutorial
447 @subsection How to read the tutorial
449 As we saw in @ruser{Working on text files}, LilyPond input must be
450 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.
451 For the rest of this manual, most examples will omit this. To
452 replicate the examples, you may copy and paste the displayed input
453 but you @strong{must} add the @code{\relative c'' @{ @}} like
458 ... example goes here...
462 Why omit the braces? Most examples in this manual can be inserted
463 into the middle of a longer piece of music. For these examples,
464 it does not make sense to add @code{\relative c'' @{ @}} -- you
465 should not place a @code{\relative} inside another
466 @code{\relative}! If we included @code{\relative c'' @{ @}}
467 around every example, you would not be able to copy a small
468 documentation example and paste it inside a longer piece of your
469 own. Most people want to add material to an existing piece, so we
470 format the manual this way.
473 @subheading Clickable examples
475 Many people learn programs by trying and fiddling around with the
476 program. This is also possible with LilyPond. If you click on a
477 picture in the HTML version of this manual, you will see the exact
478 LilyPond input that was used to generate that image. Try it on
482 @lilypond[quote,ragged-right]
484 c-\markup { \bold \huge { Click here. } }
488 By cutting and pasting everything in the @qq{ly snippet} section,
489 you have a starting template for experiments. To see exactly the
490 same output (line-width and all), copy everything from @qq{Start
491 cut-&-pastable section} to the bottom of the file.
494 @node Single staff notation
495 @section Single staff notation
497 This section introduces common notation that is used for one voice
501 * Relative note names::
502 * Accidentals and key signatures::
504 * Articulation and dynamics::
506 * Automatic and manual beams::
507 * Advanced rhythmic commands::
511 @node Relative note names
512 @subsection Relative note names
514 Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}.
516 As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
517 each note relative to the previous one@footnote{There is another mode
518 of entering pitches, @ruser{Absolute note names}, but in practice
519 relative mode is much easier and safer to use.}. If no extra
520 @notation{octave} marks (@code{'} and @code{,}) are added, it assumes
521 that each pitch is within a @notation{fourth} of the previous note.
523 LilyPond examines pitches based on the note names -- in other
524 words, an augmented fourth is @emph{not} treated the same as a
525 diminished fifth. If we begin at a C, then an F-sharp will be placed a
526 higher than the C, while a G-flat will be placed lower than the C.
528 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
536 @item Relative octaves
537 see @ruser{Relative octaves}.
539 see @ruser{Octave check}.
544 @node Accidentals and key signatures
545 @subsection Accidentals and key signatures
547 @subheading Accidentals
549 Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
550 @rglos{double flat}, @rglos{accidental}.
552 A @notation{sharp} pitch is made by adding @samp{is} to the name, and
553 a @notation{flat} pitch by adding @samp{es}. As you might expect, a
554 @notation{double sharp} or @notation{double flat} is made by adding
555 @samp{isis} or @samp{eses}@footnote{This syntax derived from note
556 naming conventions in Nordic and Germanic languages, like German
557 and Dutch. To use other names for @notation{accidentals}, see
558 @ruser{Note names in other languages}.}
560 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
561 cis1 ees fisis, aeses
564 @cindex key signature, setting
565 @subheading Key signatures
567 Music glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
569 The @notation{key signature} is set with the command @code{\key}
570 followed by a pitch and @code{\major} or @code{\minor}.
572 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
581 @subheading Warning: key signatures and pitches
583 Music glossary: @rglos{accidental}, @rglos{key signature},
584 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}.
586 To determine whether to print an @notation{accidental}, LilyPond
587 examines the pitches and the @notation{key signature}. The key
588 signature only affects the @emph{printed} accidentals, not the note's
589 @notation{pitch}! This is a feature that often causes confusion to
590 newcomers, so let us explain it in more detail.
592 LilyPond makes a sharp distinction between musical content and
593 layout. The alteration (@notation{flat}, @notation{natural} or @notation{sharp}) of a note is part of the pitch, and is therefore
594 musical content. Whether an accidental (a @emph{printed} flat, natural
595 or sharp sign) is printed in front of the corresponding note is a
596 question of layout. Layout is something that follows rules, so
597 accidentals are printed automatically according to those rules. The
598 pitches in your music are works of art, so they will not be added
599 automatically, and you must enter what you want to hear.
603 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
609 No note has a printed accidental, but you must still add the
610 @samp{is} to @code{cis} and @code{fis}.
612 The code @samp{e} does not mean @qq{print a black dot just below
613 the first line of the staff.} Rather, it means: @qq{there is a
614 note with pitch E-natural.} In the key of A-flat major, it
615 @emph{does} get an accidental:
617 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
622 Adding all alterations explicitly might require a little more
623 effort when typing, but the advantage is that transposing is
624 easier, and accidentals can be printed according to different
625 conventions. See @ruser{Automatic accidentals}, for some examples
626 how accidentals can be printed according to different rules.
632 see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
634 see @ruser{Key signature}
636 see @rglos{Pitch names}.
642 @subsection Ties and slurs
647 Music glossary: @rglos{tie}.
649 A @notation{tie} is created by appending a tilde @samp{~} to the
650 first note being tied
652 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
660 Music glossary: @rglos{slur}.
662 A @notation{slur} is a curve drawn across many notes. The starting
663 note and ending note are marked with @samp{(} and @samp{)}
666 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
667 d4( c16) cis( d e c cis d) e( d4)
670 @cindex slurs, phrasing
671 @cindex phrasing slurs
672 @subheading Phrasing slurs
674 Music glossary: @rglos{phrasing}, @rglos{legato}.
676 Slurs to indicate longer @notation{phrasing} can be entered with
677 @code{\(} and @code{\)}. You can have both @notation{legato} slurs and
678 phrasing slurs at the same time, but you cannot have simultaneous legato
679 slurs or simultaneous phrasing slurs.
681 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
682 a8(\( ais b c) cis2 b'2 a4 cis,\)
687 @cindex slurs versus ties
688 @subheading Warnings: slurs vs. ties
690 Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
692 A @notation{slur} looks like a @notation{tie}, but it has a different
693 meaning. A tie simply makes the first note longer, and can only be used on pairs of notes with the same pitch. Slurs indicate the
694 @notation{articulation} of notes, and can be used on larger groups of
695 notes. Slurs and ties can be nested.
697 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
698 c2~( c8 fis fis4 ~ fis2 g2)
709 see @ruser{Phrasing slurs}.
714 @node Articulation and dynamics
715 @subsection Articulation and dynamics
720 @subheading Articulations
722 Music glossary: @rglos{articulation}.
724 Common @notation{articulation}@tie{}s can be added to a note using a
725 dash @samp{-} and a single character:
727 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
728 c-. c-- c-> c-^ c-+ c-_
732 @subheading Fingerings
734 Music glossary: @rglos{fingering}.
736 Similarly, @notation{fingering} indications can be added to a note using
737 a dash (@samp{-}) and the digit to be printed:
739 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
743 Articulations and fingerings are usually placed automatically, but
744 you can specify a direction using @samp{^} (up) or @samp{_}
745 (down). You can also use multiple articulations on the same note.
746 However, in most cases it is best to let LilyPond determine the
747 articulation directions.
749 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
750 c_-^1 d^. f^4_2-> e^-_+
755 Music glossary: @rglos{dynamics}, @rglos{crescendo},
758 Dynamic signs are made by adding the markings (with a backslash)
761 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
769 Crescendi and decrescendi are started with the commands @code{\<}
770 and @code{\>}. An ending dynamic, for example @code{\f}, will
771 finish the (de)crescendo, or the command @code{\!} can be used:
773 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
781 see @ruser{Articulations}.
783 see @ruser{Fingering instructions}.
785 see @ruser{Dynamics} (User manual) and @rglos{dynamics} (Glossary).
792 @subsection Adding text
794 Text may be added to your scores:
796 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
800 Extra formatting may be added with the @code{\markup} command:
802 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
803 c1^\markup{ \bold espr}
805 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
810 @c Kurt: leave this alone for now.
814 User manual: @ruser{Writing text}.
817 @node Automatic and manual beams
818 @subsection Automatic and manual beams
820 @cindex beams, by hand
821 All @rglos{beam}s are drawn automatically:
823 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
824 a8 ais d ees r d c16 b a8
828 If you do not like the automatic beams, they may be overridden
829 manually. Mark the first note to be beamed with @samp{[} and the
830 last one with @samp{]}.
832 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
833 a8[ ais] d[ ees r d] a b
839 @item Automatic beams
840 see @ruser{Automatic beams}.
842 see @ruser{Manual beams}.
847 @node Advanced rhythmic commands
848 @subsection Advanced rhythmic commands
852 @cindex partial measure
853 @subheading Partial measure
855 A pickup (or @rglos{anacrusis}) is entered with the keyword
856 @code{\partial}. It is followed by a duration: @code{\partial 4}
857 is a quarter note pickup and @code{\partial 8} an eighth note.
859 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
868 Tuplets are made with the @code{\times} keyword. It takes two
869 arguments: a fraction and a piece of music. The duration of the
870 piece of music is multiplied by the fraction. Triplets make notes
871 occupy 2/3 of their notated duration, so a triplet has 2/3 as its
874 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
875 \times 2/3 { f8 g a }
877 \times 2/3 { f,8 g16[ a g a] }
884 @subheading Grace notes
886 Grace notes are created with the @code{\grace} command, although
887 they can also be created by prefixing a music expression with the
888 keyword @code{\appoggiatura} or @code{\acciaccatura}
890 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
891 c2 \grace { a32[ b] } c2
892 c2 \appoggiatura b16 c2
893 c2 \acciaccatura b16 c2
900 see @ruser{Grace notes},
904 see @ruser{Partial measures}.
909 @node Multiple notes at once
910 @section Multiple notes at once
912 This section introduces having more than one note at the same
913 time: multiple instruments, multiple staves for a single
914 instrument (i.e. piano), and chords.
916 Polyphony in music refers to having more than one voice occurring
917 in a piece of music. Polyphony in LilyPond refers to having more
918 than one voice on the same staff.
921 * Music expressions explained::
924 * Combining notes into chords::
925 * Single staff polyphony::
929 @node Music expressions explained
930 @subsection Music expressions explained
932 In LilyPond input files, music is represented by @emph{music
933 expressions}. A single note is a music expression:
935 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
939 Enclosing a note in braces creates a @emph{compound music
940 expression}. Here we have created a compound music expression
943 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
947 Putting a group of music expressions (e.g. notes) in braces means
948 that they are in sequence (i.e. each one follows the previous
949 one). The result is another music expression:
951 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
955 @subheading Simultaneous music expressions: multiple staves
957 This technique is useful for polyphonic music. To enter music
958 with more voices or more staves, we combine expressions in
959 parallel. To indicate that two voices should play at the same
960 time, simply enter a simultaneous combination of music
961 expressions. A @q{simultaneous} music expression is formed by
962 enclosing expressions inside @code{<<} and @code{>>}. In the
963 following example, three sequences (all containing two separate
964 notes) are combined simultaneously:
966 @lilypond[verbatim,quote,ragged-right]
976 Note that we have indented each level of the input with a
977 different amount of space. LilyPond does not care how much (or
978 little) space there is at the beginning of a line, but indenting
979 LilyPond code like this makes it much easier for humans to read.
981 @warning{each note is relative to the previous note in
982 the input, not relative to the @code{c''} in the initial
983 @code{\\relative} command.}
986 @subheading Simultaneous music expressions: single staff
988 To determine the number of staves in a piece, LilyPond looks at
989 the first expression. If it is a single note, there is one staff;
990 if there is a simultaneous expression, there is more than one
993 @lilypond[verbatim,quote,ragged-right]
996 << { e f } { c <<b d>> } >>
1001 @cindex music expression
1002 @subheading Analogy: mathematical expressions
1004 This mechanism is similar to mathematical formulas: a big formula
1005 is created by composing small formulas. Such formulas are called
1006 expressions, and their definition is recursive so you can make
1007 arbitrarily complex and large expressions. For example,
1016 ((1 + 2) * 3) / (4 * 5)
1019 This is a sequence of expressions, where each expression is
1020 contained in the next (larger) one. The simplest expressions are
1021 numbers, and larger ones are made by combining expressions with
1022 operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
1023 Like mathematical expressions, music expressions can be nested
1024 arbitrarily deep, which is necessary for complex music like
1028 @node Multiple staves
1029 @subsection Multiple staves
1031 As we saw in @ruser{Music expressions explained}, LilyPond input
1032 files are constructed out of music expressions. If the score
1033 begins with simultaneous music expressions, LilyPond creates
1034 multiples staves. However, it is easier to see what happens if we
1035 create each staff explicitly.
1037 To print more than one staff, each piece of music that makes up a
1038 staff is marked by adding @code{\new Staff} before it. These
1039 @code{Staff} elements are then combined in parallel with @code{<<}
1042 @lilypond[verbatim,quote,ragged-right]
1045 \new Staff { \clef treble c }
1046 \new Staff { \clef bass c,, }
1051 The command @code{\new} introduces a @q{notation context.} A
1052 notation context is an environment in which musical events (like
1053 notes or @code{\clef} commands) are interpreted. For simple
1054 pieces, such notation contexts are created automatically. For
1055 more complex pieces, it is best to mark contexts explicitly.
1057 There are several types of contexts. @code{Score}, @code{Staff},
1058 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
1059 lyric texts and @code{ChordNames} prints chord names.
1061 In terms of syntax, prepending @code{\new} to a music expression
1062 creates a bigger music expression. In this way it resembles the
1063 minus sign in mathematics. The formula @math{(4+5)} is an
1064 expression, so @math{-(4+5)} is a bigger expression.
1066 Time signatures entered in one staff affects all other
1067 staves@footnote{This behavior may be changed if desired; see
1068 @ruser{Polymetric notation}, for details.}. On the other hand, the
1069 key signature of one staff does @emph{not} affect other staves.
1071 @lilypond[verbatim,quote,ragged-right]
1074 \new Staff { \clef treble \time 3/4 c }
1075 \new Staff { \clef bass \key d \major c,, }
1084 @subsection Piano staves
1086 @cindex staff switch, manual
1087 @cindex cross staff voice, manual
1088 Piano music is typeset in two staves connected by a brace.
1089 Printing such a staff is similar to the polyphonic example in
1090 @ruser{Multiple staves}, but now this entire expression is
1091 inserted inside a @code{PianoStaff}:
1100 Here is a small example:
1102 @lilypond[verbatim,quote,ragged-right]
1105 \new Staff { \time 2/4 c4 e g g, }
1106 \new Staff { \clef bass c,, c' e c }
1113 See @ruser{Piano music}.
1117 @node Combining notes into chords
1118 @subsection Combining notes into chords
1121 Chords can be made by surrounding pitches with single angle
1122 brackets. Angle brackets are the symbols @samp{<} and @samp{>}.
1124 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1125 r4 <c e g>4 <c f a>2
1128 You can combine markings like beams and ties with chords. They
1129 must be placed outside the angle brackets
1131 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1132 r4 <c e g>8[ <c f a>]~ <c f a>2
1135 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1136 r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
1140 @node Single staff polyphony
1141 @subsection Single staff polyphony
1144 @cindex multiple voices
1145 @cindex voices, more -- on a staff
1146 When different melodic lines are combined on a single staff they
1147 are printed as polyphonic voices; each voice has its own stems,
1148 slurs and beams, and the top voice has the stems up, while the
1149 bottom voice has them down.
1151 Entering such parts is done by entering each voice as a sequence
1152 (with @code{@{...@}}) and combining these simultaneously,
1153 separating the voices with @code{\\}
1155 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1162 For polyphonic music typesetting, spacer rests can also be
1163 convenient; these are rests that do not print. They are useful
1164 for filling up voices that temporarily do not play. Here is the
1165 same example with a spacer rest (@samp{s}) instead of a normal
1168 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1176 Again, these expressions can be nested arbitrarily.
1178 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1186 { <c g>1 ~ <c g>4 } \\
1194 See @ruser{Basic polyphony}.
1201 This section introduces vocal music and simple song sheets.
1204 * Setting simple songs::
1205 * Aligning lyrics to a melody::
1206 * Lyrics to multiple staves::
1210 @node Setting simple songs
1211 @subsection Setting simple songs
1215 Here is the start of the melody to a nursery
1216 rhyme, @qq{Girls and boys come out to play}:
1218 @lilypond[verbatim,quote,ragged-right]
1222 d4 b8 c4 a8 d4 b8 g4
1226 The lyrics can be set to these notes, combining both with the
1227 @code{\addlyrics} keyword. Lyrics are entered by separating each
1228 syllable with a space.
1230 @lilypond[verbatim,quote,ragged-right]
1235 d4 b8 c4 a8 d4 b8 g4
1238 Girls and boys come out to play,
1243 Note the curly brackets delimiting both the music and the lyrics,
1244 and the angle brackets @code{<< ... >>} around the whole piece to
1245 show that the music and lyrics are to occur at the same time.
1247 @node Aligning lyrics to a melody
1248 @subsection Aligning lyrics to a melody
1251 @cindex extender line
1255 The next line in the nursery rhyme is @q{The moon doth shine as
1256 bright as day}. Let's extend it:
1258 @lilypond[verbatim,quote,ragged-right]
1263 d4 b8 c4 a8 d4 b8 g4
1264 g8 a4 b8 c b a d4 b8 g4.
1267 Girls and boys come out to play,
1268 The moon doth shine as bright as day;
1273 We see the extra lyrics do not align properly with the notes. The
1274 word @q{shine} should be sung on two notes, not one. This is
1275 called a @rglos{melisma}, a single syllable sung to more than one
1276 note. There are several ways to spread a syllable over multiple
1277 notes, the simplest being to add a slur across them (see @ref{Ties
1280 @lilypond[verbatim,quote,ragged-right]
1285 d4 b8 c4 a8 d4 b8 g4
1286 g8 a4 b8 c([ b)] a d4 b8 g4.
1289 Girls and boys come out to play,
1290 The moon doth shine as bright as day;
1295 Here we have also used manual beaming (the square brackets @code{[
1296 ]} ) to generate the beaming which is customarily used with lyrics
1297 (see @ref{Automatic and manual beams}).
1299 If a syllable extends over several notes or a single very long
1300 note an @emph{extender line} is usually drawn from the syllable
1301 extending under all the notes for that syllable. It is entered as
1302 two underscores @code{__}. Here is an example from the first
1303 three bars of Dido's Lament, from Purcell's Dido and Æneas:
1305 @lilypond[verbatim,quote,ragged-right]
1311 b c4.( bes8 a4. g8 fis4.) g8 fis1
1315 am laid __ in earth,
1320 None of the examples so far have involved words containing more
1321 than one syllable. Such words are usually split one syllable to a
1322 note, with hyphens between syllables. Such hyphens are entered as
1323 two dashes, resulting in a centered hyphen between the syllables.
1324 Here is an example showing this and everything we have learned so
1325 far about aligning lyrics to notes.
1327 @c no ragged-right here because otherwise the hyphens get lost,
1328 @c but the example is long enough to avoid looking strange.
1329 @lilypond[quote,verbatim]
1335 d4 g4 g a8( b) g4 g4
1339 A -- way in a __ man -- ger,
1340 no __ crib for a bed, __
1345 Some lyrics, especially those in Italian, require the opposite:
1346 setting more than one syllable to a single note. This is
1347 achieved by linking the syllables together with a single
1348 underscore @code{_} (with no spaces), or enclosing them in
1349 quotes. Here's an example from Rossini's Figaro, where
1350 @q{al} has to be sung on the same note as the @q{go} of
1351 @q{Largo} in Figaro's aria @q{Largo al factotum}:
1353 @c no ragged-right here because otherwise the hyphens get lost,
1354 @c but the example is long enough to avoid looking strange.
1355 @lilypond[quote,verbatim]
1361 c4.~ c8 d b c([ d)] b c d b c
1364 Lar -- go_al fac -- to -- tum del -- la cit -- tĂ
1372 More options, such as inserting explicit rhythms into lyrics,
1373 inserting lyric ties (e.g., between @q{go al}) above,
1374 alternative ways of handling melismata,
1375 and adding extra verses,
1376 are discussed in @ruser{Vocal music}.
1379 @node Lyrics to multiple staves
1380 @subsection Lyrics to multiple staves
1382 The simple approach using @code{\addlyrics} can be used for
1383 placing lyrics under more than one staff. Here is an
1384 example from Handel's Judas Maccabæus:
1386 @lilypond[verbatim,quote,ragged-right]
1392 \relative c'' { \key f \major
1393 c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
1396 Let flee -- cy flocks the hills a -- dorn, __
1398 \relative c' { \key f \major
1399 r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
1402 Let flee -- cy flocks the hills a -- dorn,
1407 but scores any more complex than this simple example are
1408 better produced by separating out the staff structure
1409 from the notes and lyrics with variables. These are
1410 discussed later (see @ref{Organizing pieces with variables}).
1414 More options, such as putting multiple stanzas below the score,
1415 setting choral music, and lyrics to divided voices,
1416 are discussed in @ruser{Vocal music}.
1421 @section Final touches
1423 This is the final section of the tutorial; it demonstrates how to
1424 add the final touches to simple pieces, and provides an
1425 introduction to the rest of the manual.
1430 * Absolute note names::
1431 * Organizing pieces with variables::
1432 * After the tutorial::
1433 * How to read the manual::
1437 @node Version number
1438 @subsection Version number
1441 The @code{\version} statement records the version of LilyPond that
1442 was used to write the file:
1449 by convention, this is placed at the top of your LilyPond file.
1451 These annotations make future upgrades of LilyPond go more
1452 smoothly. Changes in the syntax are handled with a special
1453 program, @file{convert-ly} (see @rprogram{Updating files with
1454 convert-ly}), and it uses @code{\version} to determine what rules
1459 @subsection Adding titles
1461 The title, composer, opus number, and similar information are
1462 entered in the @code{\header} block. This exists outside of the
1463 main music expression; the @code{\header} block is usually placed
1464 underneath the @ruser{Version number}.
1475 @dots{} music @dots{}
1479 When the file is processed, the title and composer are printed
1480 above the music. More information on titling can be found in
1481 @ruser{Creating titles}.
1484 @node Absolute note names
1485 @subsection Absolute note names
1487 So far we have always used @code{\relative} to define pitches.
1488 This is the easiest way to enter most music, but another way of
1489 defining pitches exists: absolute mode.
1491 If you omit the @code{\relative}, LilyPond treats all pitches as
1492 absolute values. A @code{c'} will always mean middle C, a
1493 @code{b} will always mean the note one step below middle C, and a
1494 @code{g,} will always mean the note on the bottom staff of the
1497 @lilypond[quote,verbatim,ragged-right]
1505 Here is a four-octave scale:
1507 @lilypond[quote,verbatim,ragged-right]
1522 As you can see, writing a melody in the treble clef involves a lot
1523 of quote @code{'} marks. Consider this fragment from Mozart:
1525 @lilypond[quote,verbatim,ragged-right]
1529 cis''8. d''16 cis''8 e''4 e''8
1530 b'8. cis''16 b'8 d''4 d''8
1534 All these quotes makes the input less readable and it is a source
1535 of errors. With @code{\relative}, the previous example is much
1538 @lilypond[quote,verbatim,ragged-right]
1542 cis8. d16 cis8 e4 e8
1547 If you make a mistake with an octave mark (@code{'} or @code{,})
1548 while working in @code{\relative} mode, it is very obvious -- many
1549 notes will be in the wrong octave. When working in absolute mode,
1550 a single mistake will not be as visible, and will not be as easy
1553 However, absolute mode is useful for music which has large
1554 intervals, and is extremely useful for computer-generated LilyPond
1558 @node Organizing pieces with variables
1559 @subsection Organizing pieces with variables
1561 When all of the elements discussed earlier are combined to produce
1562 larger files, the music expressions get a lot bigger. In
1563 polyphonic music with many staves, the input files can become very
1564 confusing. We can reduce this confusion by using
1567 With variables (also known as variables or macros), we can break
1568 up complex music expressions. An variable is assigned as
1572 namedMusic = @{ @dots{} @}
1575 The contents of the music expression @code{namedMusic} can be used
1576 later by placing a backslash in front of the name
1577 (@code{\namedMusic}, just like a normal LilyPond command).
1578 Variables must be defined @emph{before} the main music
1581 @lilypond[quote,verbatim,ragged-right]
1582 violin = \new Staff { \relative c'' {
1585 cello = \new Staff { \relative c {
1598 The name of an variable must have alphabetic characters only: no
1599 numbers, underscores, or dashes.
1601 It is possible to use variables for many other types of objects in
1602 the input. For example,
1607 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1610 Depending on its contents, the variable can be used in different
1611 places. The following example uses the above variables:
1622 @node After the tutorial
1623 @subsection After the tutorial
1625 After finishing the tutorial, you should probably try writing a
1626 piece or two. Start with one of the @ruser{Templates}, and add
1627 notes. If you need any notation that was not covered in the
1628 tutorial, look at the Notation Reference, starting with
1629 @ruser{Basic notation}. If you want to write for an instrument
1630 ensemble that is not covered in the templates, take a look at
1631 @ruser{Extending the templates}.
1633 Once you have written a few short pieces, read the rest of the
1634 Learning Manual (chapters 3-5). There's nothing wrong with
1635 reading it now, of course! However, the rest of the Learning
1636 Manual assumes that you are familiar with LilyPond input. You may
1637 wish to skim these chapters right now, and come back to them after
1638 you have more experience.
1641 @node How to read the manual
1642 @subsection How to read the manual
1644 As we saw in @ruser{How to read the tutorial}, many examples in
1645 the tutorial omitted a @code{\relative c'' @{ ... @}} around the
1648 In the rest of the manual, we are much more lax about the printed
1649 examples: sometimes they may have omitted a @code{\relative c'' @{
1650 ... @}}, but other times a different initial pitch may be used
1651 (such as @code{c'} or @code{c,,}), and in some cases the whole
1652 example is in absolute note mode! However, ambiguities like this
1653 only exist where the pitches are not important. In any example
1654 where the pitch matters, we have explicitly stated
1655 @code{\relative} or absolute-mode @code{@{ @}}.
1657 If you are still confused about the exact LilyPond input that was
1658 used in an example, read the HTML version (if you are not already
1659 doing so) and click on the picture of the music. This will
1660 display the exact input that LilyPond used to generate this
1663 For information about the structure of the rest of the manual, see
1664 @ruser{About this manual}.